MATERIALS  FOR 


Crayon  Drawing. 


P«  Weber  & Co.’s  PhiladelphiH  Crayon  Sauce,  in  tin  foil 
and  in  glass  vials. 


CONTE  CRAYONS  IN  STICKS  AND  IN  WOOD. 

GERMAN  CRAYONS. 

F.  WEBER  & CO.’S  PALETTE  CRAYON  OUTFIT, 


Fitted  complete  with  Materials  for  Crayon  Drawing. 
PRICE,  $1.35, 


Paper,  Leather,  Cork  and  Pith  Stumps,  Chamois  Palettes, 
Chamois  Skins,  Crayon  Holders. 

F.  Weber  & Co.’s  Sphinx  Rubbers,  Nigrivorine  or  Pointed 
Rubbers,  Sponge  Rubbers. 

CONTE,  BERYILLE  AND  ROTJOET  CHARCOAL. 


F.  WEBER  & CO., 


Philadelphia,  Pa, 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/completecomprehe00croc_0 


A COMPLETE 


AND 

COMPREHENSIVE  TREATISE 

ON  THE  ART  OP 

Qrayon 

Portraiture 

IN 

BLACK  AND  WHITE. 

By  J.  B.  CROCKER. 

PHILADELPHIA : 

F.  WEBER  & CO.,  1125  CHESTNUT  STREET. 

_ TT  f 018  Oi.ive  St.,  St.  Louis,  Mo. 

Branch  Houses:^  North  Chakles  Si„  Baltimore,  Mix 


1895. 


CONTENTS 

w 


INTRODUCTION. 

CRAYON  PORTRAITURE. 
MATERIALS. 

PAPER. 

STRETCHERS. 

CRAYON  SAUCE. 

THE  PHOTOGRAPH. 

THE  ENLARGEMENT. 
THE  METROSCOPE. 

THE  PANTOGRAPH. 

THE  TRANSFER. 

THE  LIGHT. 

THE  METHOD. 

THE  BACKGROUND. 

THE  DRAPERY. 


THE  HAIR. 

THE  EYES. 

THE  NOSE. 

THE  MOUTH. 

THE  FOREHEAD.- 
THE  FACE. 

FINISHING. 

POINT  WORK. 

FULL-LENGTH  PORTRAIT® 
SCENIC  BACKGROUNDS. 
LANDSCAPE  DRAWING. 

TO  FIX  CRAYON  DRAWING S& 
GENERAL  REMARKS. 
CHARCOAL  DRAWING*. 
CONCLUSION. 


COPYRIGHT  1884 

BY 

<Jk  a CROCKER  AND  G.  B MILLER.. 


ajfcg 

■|  INTRODUCTION.  | 

BA  WING  was  formerly  looked  upon, 
simply  as  an  accomplishment,  or  ass 
a means  of  personal  gratification* 
without,  except  in  very  rare  instances* 
any  expectation  of  making  it  a pro- 
fession or  a means  of  earning  a livelihood.  But 
in  the  present  age.  Schools  of  Design  and  Acade- 
mies of  Fine  Arts  have  been  opened  in  all  our  large 
cities — even  the  common  schools  giving  especial 
attention  to  this  branch  of  study — and  instead  of 
its  pleasures  and  advantages  being  enjoyed  by  the 
rich  alone,  it  is  within  the  reach  of  almost  every 
one  to  acquire  some  knowledge  and  skill  in  this 
direction,  thus  cultivating  an  appreciation  of  the 
beautiful  in  Art,  as  well  as  all  the  varied,  graceful 
forms  in  Nature. 

Besides  being  classed  among  the  accomplish- 
ments, it  has  already  become  one  of  the  most  prof- 
itable of  employments,  and  thousands  are  to-day- 


8 


CRAYON  PORTRAITURE 


engaged  upon  the  periodicals,  illustrated  papers, 
art  magazines,  books,  etc.,  that  make  our  homes  so 
attractive,  exhibiting  not  only  their  skill  in  tliis 
direction,  but  affording  others  beautiful  views  of 
natural  scenery,  the  features  of  public  and  promi- 
nent men,  and  beautiful  forms  and  designs  for 
home  decoration  with  the  brush,  the  pencil  or  the 
needle.  In  fact,  drawing  is  indispensable  to  the 
practitioners  of  almost  every  art,  trade  or  pro- 
fession. 


9 


IN  BLACK  AND  WHITE. 


CRAYON  PORTRAITURE. 

S|pO  one  who  knows  nothing  of  the  art  of  Crayon 
Portraiture,  it  seems  not  only  very  difficult, 
but  almost  unattainable.  In  fact,  many  suppose 
some  natural  gift  is  necessary  to  be  able  to  pro- 
duce the  human  features  in  life-like  form  upon  the 
canvas.  Such,  however,  is  not  the  case.  Any  one 
who  can  learn  to  write,  can  learn  to  draw  ; yet  it 
is  necessary  to  have  a special  method  in  order  to 
work  intelligently. 

The  first  consideration  in  a Crayon  Portrait  is, 
of  course,  the  likeness,  without  which  it  would  be 
practically  worthless ; after  which,  brilliancy  and 
perspective  are  the  great  essentials  in  portraiture. 
Pure  high  lights,  delicately  graded  half  tones,  and 
clear  transparent  shadows,  with  carefully  treated 
outlines,  add  greatly  to  both  brilliancy  and  per- 
spective where  proper  regard  is  had  to  contrast 
and  reflected  light. 

Many  hand-books  have  been  published  from 
time  to  time,  treating  of  almost  every  branch  or 
department  of  Fine  Arts,  but  no  book  of  any  prac- 
tical value  has  ever  appeared  describing  the  method 
of  Crayon  Portraiture  in  Black  and  White,  and  the 
author  proposes  to  give  a series  of  instructions, 
which,  if  carefully  followed,  will  prove  invalu- 
able to  all  who  desire  to  achieve  success  in  this 
direction. 

Having  been  for  years  engaged  in  teaching  this 
beautiful  art,  he  will  endeavor  to  give  careful  and 


10 


CRAYON  PORTRAITURE 


'comprehensive  instructions,  pointing  out  the  errors 
pupils  are  liable  to  make  at  the  start,  giving  the 
simplest  details,  and  explaining  the  entire  method 
so  thoroughly  that  any  one  of  average  intelligence 
can,  after  a little  practice,  learn  to  execute  a Crayon 
Portrait  of  real  merit. 

That  such  a work  will  fill  a long-felt  want,  and 
meet  with  a hearty  welcome,  the  writer  feels  as- 
sured; and  that,  with  the  hints  thus  furnished, 
many  pupils  will  gain  from  it  just  the  knowledge 
they  require  to  enable  them  to  achieve  excel- 
lence in  this  most  beautiful  and  fascinating  ac- 
complishment. 


JVIATE^IALS. 


#NE  of  the  first  and  most  important  factors 
towards  success  is  to  have  the  proper  mate- 
rials, and  of  the  very  best  quality.  Unlike  most 
other  branches  of  Art,  the  materials  for  Crayon 
work  are  few  in  number  and  inexpensive  : 

A Drawing  Board,  about  22x27. 

An  Easel. 

A Best  Stick. 

A piece  of  Chamois. 

One  soft  rolled  Chamois  Stomp. 

One  dozen  small  Paper  Stomps. 

One  stick  of  Square  Conte  Crayon,  No.  3. 
One  stick  of  Bound  Conte  Crayon. 

One  stick  of  German  Crayon,  No.  2. 

One  piece  of  Conte  Bubber0 


IN  BLACK  AND  WHITE. 


11 


One  Crayon  Holder  (brass). 

A few  sticks  of  Soft  Charcoal. 

One  dozen  Thumb  Tacks. 

A Block  of  Wood,  3x5,  covered  with  fine 
Sand-paper. 

A small  Palette,  covered  with  Chamois. 

A Stretcher  of  Drawing  Pap' 

A sheet  of  Manilla  Wrapping;  Paper. 

If  it  is  desirable  to  save  all  unnecessary  expense, 
many  of  these  materials  can  be  of  home  manufac- 
ture. An  inexpensive  easel  will  answer  the  pur- 
pose quite  well,  and  a small  slender  cane  will  answer 
as  a rest  stick.  The  drawing  board  can  be  ob- 
tained at  any  Art  store,  ora  carpenter  be  employed 
to  make  one  at  a small  outlay.  The  block  of  wood, 
covered  with  fine  sand-paper,  and  the  palette  of 
pasteboard,  covered. with  Chamois,  are  easily  made. 

The  former  will  be  found  useful  in  cleaning  and 
sharpening  the  rubber  and  paper  stomps.  Another 
block  may  also  be  made  and  covered  with  fine 
emory  paper  to  be  used  in  making  a fine  point  to 
the  German  and  Conte  Crayons  for  point  work. 
The  palette  is  intended  to  be  used  for  the  pulver- 
ized Crayon,  or  Crayon  Sauce,  as  it  is  usually 
termed,  and  when  not  in  use  should  be  carefully 
covered  to  keep  it  free  from  dost.  The  small  paper 
stomps  are  sometimes  called  paperettes,  and  come 
in  packages  of  a dozen  or  more.  They  will  be  found 
very  useful,  and  a much  more  pleasing  effect  can 
be  obtained  with  them  than  with  the  Chamois 
stomp,  especially  upon  the  face.  Avoid  the  hard 
paper  stomps  made  of  pulp  ; they  are  worthless. 


12 


CRAYON  PORTRAITURE 


THE  PAPER. 

SPHERE  are  many  varieties  of  paper  that  can 
be  employed  for  Crayon  Portraiture.  Among 
these  tbe  most  used  are  Whatman’s  Imperial  and 
Double  Elephant,  Egg-shell,  Steiubach,  and  the 
French  tinted  papers,  aud  many  fine  effects  are 
produced  upon  them  all.  Almost  every  Artist  has 
a choice,  therefore  no  rule  can  be  laid  down  to  be 
followed  implicitly,  but  Whatman’s  and  SteinbachA 
are  generally  considered  the  most  desirable.  Do 
not,  however,  attempt  to  use  any  paper  by  tacking 
it  to  a drawing  board,  but  have  it  mounted  on  a, 
stretcher,  as  the  hard  surface  of  the  drawing  board 
would  make  irregularities  in  the  work.  These- 
stretchers,  already  prepared,  can  be  obtained  at 
any  dealers  in  Artists’  materials,  but  many  who? 
read  these  pages  may  reside  so  far  from  such  sup- 
plies that  it  may  seem  desirable  to  understand  how4 
to  make  them. 


TO  MAKE  A gTRETCHER, 


jROCURE  a pine  frame  20x24,  or  any  other  size 
desired.  Lay  the  sheet  of  paper  upon  the- 
drawing  board  with  the  face  side  down,  which 
can  be  distinguished  by  the  water-mark  in  the 
paper,  by  holding  it  up  to  the  light.  Dampen  it 
with  a sponge  or  wet  towel,  going  over  the  entire- 
surface,  then  place  the  pine  frame  upon  it  and  with; 


IN  BLACK  AND  WHITE. 


13 


a sharp  knife  trim  the  edges  of  the  paper  about  one 
mch  larger  than  the  frame.  Cut  out  the  corners, 
then  with  a small  brush  put  a little  flour  paste 
upon  the  paper  beyond  the  frame,  and  also  upon 
the  edges  of  the  frame. 

Next,  with  the  fingers  turn  up  the  paper  upon 
the  edges  of  the  frame  as  smoothly  as  possible, 
drawing  out  the  larger  wrinkles.  Having  turned 
all  the  edges  up,  take  up  the  frame  carefully  and 
gently  draw  each  of  the  four  sides,  one  after  the 
other,  from  the  centre  toward  the  corners,  and  note 
that  it  adheres  firmly.  It  is  not  necessary  to  draw 
it  so  tightly  that  it  looks  perfectly  smooth,  for  if 
drawn  too  tightly  it  would  split.  The  smaller 
wrinkles  will  all  disappear  when  it  is  thoroughly 
dry.  Put  this  away  in  a cool  room  and  in  a few 
hours  it  will  be  ready  for  use.  Care  should  be 
taken  not  to  rub  the  paper  on  the  side  upon  which 
the  drawing  is  to  be  made,  also  avoid  putting  the 
fingers  on  the  face  of  the  paper,  as  this  would  occa- 
sion spots,  thus  causing  injury  to  the  work. 


CRAYOJM  JSAUCE. 

4 RAYON  Sauce,  or  Pulverized  Crayon,  is  made 
in  the  following  manner : Take  a stick  of  the 
No.  3 square  crayon  and  rub  it  on  a piece  of  sand- 
paper, or  a file,  holding  it  over  the  Chamois  pal- 
ette and  allowing  the  fine  crayon  thus  made  to  fall 
upon  it.  Make  quite  a little  quantity  of  this  upon 


14 


CRAYON  PORTRAITURE 


different  parts  of  the  palette.  Avoid  having  any 
little  pieces  of  the  crayon  chip  off,  or  if  they  do, 
grind  them  np  by  placing  the  crayon  stick  upon 
them  and  crushing  them.  Make  this  sauce  as  fine 
as  possible.  Next  take  a paper  stomp  and  mix  or 
grind  the  sauce  until  the  palette  is  thoroughly 
saturated,  and  it  is  ready  for  use. 


THE  PHOTOQRAPH, 

subject  to  be  copied,  should  be  the  next  con- 
sideration, and  it  seems  necessary  to  give  a 
little  advice  upon  this  selection.  Do  not  first  at- 
tempt to  copy  a wood-cut,  as  the  result  would  very 
likely  prove  unsatisfactory,  and  possibly  discour- 
age you  from  further  attempts.  Neither  attempt, 
for  a first  picture,  to  copy  a tin- type  or  a very 
small  carte  de  visite.  It  would  be  very  difficult  to 
get  a correct  enlargement,  and  the  shadows  would 
not  be  plainly  defined. 

A photograph  from  an  ideal  head  would  be  the 
best  selection  one  could  make.  First,  because  thej 
are  copies  from  a good  crayon  drawing,  and  pre- 
sent the  grain  effect  that  is  so  desirable ; second, 
the  result  would  be  pleasing  even  if  the  exact  like- 
ness had  not  been  attained. 

This,  however,  is  optional  with  the  student ; 
but  by  all  means,  if  the  subject  selected  is  to  be  a 
family  portrait,  select  a good  photograph,  cabinet 
size,  one  strongly  defined  and  properly  lighted, 
and  the  result  will  be  satisfactory. 


IN  BLACK  AND  WHITE, 


i5 


THE  ENLARGEMENT. 

j&flANY  artists  use  Solar  Prints,  and  the  work** 
ing  them  up  has  been  carried  to  consider- 
able perfection.  Certainly  they  can  be  finished 
with  more  rapidity,  as  they  save  much  labor  in 
sketching  the  outline,  and  it  is  much  easier  to 
obtain  a correct  likeness.  The  artist  has  merely 
to  give  the  crayon  tint,  strength  and  roundness*, 
with  a little  point  work  in  the  way  of  finish,  and 
the  portrait  is  complete.  But  such  crayons  are 
becoming  more  and  more  unpopular,  and  an  artist 
who  works  over  solar  prints  exclusively  does  not 
take  rank  with  those  who  make  a pure  crayon 
portrait.  To  such  as  may  prefer  to  work  solar 
prints,  the  method  described  in  this  volume  will 
be  applicable. 

There  are  several  ways  of  making  the  enlarge- 
ment. A solar  print  may  be  obtained  and  used 
for  tracing  by  blacking  the  back  and  tracing  with 
a stylus,  as  described  later  on.  Another  method 
is  by  procuring  a negative  from  the  photograph, 
and  with  a magic  lantern  throwing  the  picture 
upon  a paper  of  the  desired  size,  and  tracing  the- 
outline  in  the  dark  with  a piece  of  charcoal,  after 
which  it  can  be  finished  up  by  the  photograph. 
In  either  or  all  cases  draw  the  outline  upon  a piece 
of  manilla  wrapping  paper  in  order  that  any  neces- 
sary corrections  or  alterations  may  be  made  before 
transferring  it  upon  the  stretcher. 

There  is  also  a system  of  squaring  off  a picture 


15 


CRAYON  PORTRAITURE 


for  enlargement  which  was  much  used  by  the  old  fc- 
masters,  and  is  used  to  a great  extent  among  the  }s^ 
artists  of  to-day.  It  consists  in  dividing  the  pic-  w 
fure  to  be  copied  into  squares  of  equal  size,  and  ^ 
drawing  squares  upon  the  canvas  or  paper  as  jof 
much  larger  as  the  desired  drawing  is  to  be  larger  0 
than  the  picture  to  be  copied.  Then,  whatever  |&( 
is  seen  in  each  square  in  the  smaller  picture  is  to  ! ® 
be  drawn  in  the  corresponding  square  upon  the  1 s 
paper  for  the  enlargement. 

For  Portrait  Artists  this  system,  in  its  simple 
form,  is  not  altogether  practical,  for  the  accuracy 
required  m their  work  would  necessitate  the  use  of 
a large  number  of  small  squares,  making  the  work 
too  laborious  and  confusing  to  justify  its  very  ex- 
tensive use.  Other  objections  might  also  be  brought 
to  notice,  but  an  instrument  overcoming  all  objec- 
tions to  this  method  of  enlargement  has  been  de- 
vised, and  is  termed  the  Metroscope, 


THE  METROSCOPE. 

€HE  meaning  of  this  term  is  a measured  view. 

It  comprises  several  series  of  squares  en- 
graved upon  the  finest  plate  glass  by  machinery, 
thereby  being  perfectly  accurate  and  durable. 
The  two  plates  of  glass  (of  which  one  form  of  the 
instrument  consists)  are  ruled  for  convenience 
with  squares  differing  in  size.  These  are  framed 
and  held  together  by  thumb  screws,  allowing  suf 


IN  BLACK  AND  WHITE. 


17 


icient  space  between  them  for  inserting  and 
securing  a picture  of  the  size  of  a cabinet  photo- 
graph, which  brings  the  lines  into  perfect  contact 
with  all  parts  of  the  picture,  givingthe  appearance 
of  the  lines  being  actually  drawn  upon  the  picture. 
One  feature  of  this  instrument,  which  renders  the 
square  system  the  most  practical  for  general  use, 
consists  of  the  division  and  sub-division  of  the 
squares  by  finer  dash  and  dotted  lines.  The  eye 
more  naturally  divides  a line  or  space  into  halves 
or  quarters  than  any  other  proportions,  and  for 
this  reason  the  dash  lines  have  been  designed  for 
quartering  the  main  squares,  and  the  dotted  lines 
for  quartering  the  squares  thus  formed.  This  gives 
sixteen  times  as  many  squares  for  use  as  are  drawn 
upon  the  paper,  or  are  seen  upon  the  glass  at  a 
little  distance,  and  therefore  will  not  cause  any 
annoyance  when  the  main  or  quarter  squares  only 
are  desired  to  be  used. 

The  benefit  derived  from  this  combination  is  the 
perfect  ability  of  the  draughtsman,  with  a little 
practice,  to  begin  immediately  to  put  in  the  values 
or  principal  shades  of  the  picture  without  having 
to  make  the  entire  outline  of  the  drawing.  A mere 
outline  in  the  first  place  belongs  only  to  drawing 
in  proportion,  and  not  in  projection,  as  the  shadows 
determine  the  latter.  At  a glance  the  form,  size, 
depth  and  location  of  shadows  are  seen  in  rela- 
tion to  the  squares  of  the  instrument.  Their  loca- 
tion upon  the  paper  is  determined  by  the  main 
squares  drawn  upon  it,  and  other  properties  by 
means  of  the  smaller  squares.  Where  the  greatest 


18 


CRAYON  PORTRAITURE 


accuracy  and  most  detail  is  required,  lines  former 
ing  the  smallest  squares  may  be  drawn  in  at  suclF 
places  as  are  deemed  necessary. 

As  many  photographs  stretch  in  one  direction 
more  than  the  other,  in  the  process  of  mounting.^1 
causing  faces  to  appear  too  long  or  too  wide,  thh^1 
distortion  should  be  corrected  in  the  enlargement. p 
When  it  is  ascertained  in  what  direction  and  toF' 
what  degree  a picture  is  stretched,  the  squares,^ 


may  be  made  longer  in  an  opposite  direction  upon 
the  paper  to  correct  this  distortion.  An  ordinary 
cylindrical  lens  may  be  used  in  determining  in 
what  direction  and  to  what  degree  a face  is  dis- 
torted. 


An  u L”  or  Differential  Square  has  been  devised 


to  be  used  for  squaring  off  the  paper.  It  is  of 
great  assistance  in  rapidity  and  accuracy,  and  may 
also  be  adjusted  to  extend  or  contract  the  squares 
sufficiently  to  correct  whatever  distortion  may  exist 
in  a photograph. 


THE  PANTOQRAPH. 

«HIS  machine  for  enlarging  or  reducing  pic- 
tures and  drawings  is  said  to  have  been 
invented  in  1603,  but  it  has  since  undergone  many 
modifications  and  improvements.  It  consists  of 
four  metallic  or  wooden  bars  or  rules,  each  rule 
being  perforated  with  a series  of  holes  by  which 
they  can  be  connected  together  by  means  of  thumb 
screws,  and  is  provided  with  a tracing  and  a mark- 


IN  BLACK  AND  WHITE. 


19 


i g point,  and  a screw  or  point  which  is  forced  into 
ae  drawing  board  to  hold  the  instrument  in  posi- 


ou. 


They  are  usually  numbered  from  1 to  20  on  the 
our  bars  indicating  sizes.  There  are  a great 
ariety  of  these  instruments  for  sale,  but  many  of 
he  cheaper  ones  are  worthless,  the  holes  not  being 

0 )laced  in  the  right  position.  The  cheap  instru- 
s nents  which  sell  for  twenty  cents  may  be  classed 

1 imong  the  number.  For  about  two  dollars  a good 
r pantograph  can  be  purchased  at  the  Art  Stores, 

ind  with  proper  care  it  will  last  a lifetime,  and 
always  be  at  hand  when  an  outline  is  desired. 

In  enlarging  from  a very  small  picture,  as  a card 
photograph,  the  higher  numbers  will  be  required, 
say  1 5,  17,  or  even  18.  But  Cabinet  or  Imperial 
photographs  can  usually  be  enlarged  to  life-size  by 
using  the  numbers  12  or  14.  The  thumb-screws, 
when  placed  in  the  number  in  one  bar,  should 
always  correspond  with  the  number  on  the  oppo- 
site one;  otherwise  a distorted  outline  would  be 
the  result. 

To  use  the  instrument,  secure  it  to  the  drawing 
board  at  the  left-hand  side,  select  the  number 
desired,  place  a piece  of  manilla  wrapping  paper 
at  the  other  end  of  the  board  and  secure  it  with 
thumb  tacks.  Next  place  the  marking  point  in 
the  centre  of  the  paper,  after  which  place  the  pho- 
tograph under  the  indicating  point  in  the  centre 
also,  and  secure  it  to  the  board.  This  indicating 
point  should  always  touch  the  photograph,  and  if 
it  does  not,  place  a little  weight  on  the  instrument, 


20 


CRAYON  PORTRAITURE 


jav 


as  a silver  half  dollar,  or  if  this  is  not  sufficient  ad 
a few  smaller  coins,  until  this  point  just  toucliHe 
the  photograph. 

Now  guide  the  instrument  by  taking  hold  of  th 
marking  point,  but  watch  the  tracing  point.  I 
this  manner  go  over  the  entire  photograph,  puttin 
in  as  many  of  the  details  as  may  seem  necessary 
indicating  the  position  of  the  shadows,  the  folds  ii^1* 
the  drapery,  the  masses  in  the  hair,  and  all  othe: 
features  until  a perfect  enlargement  is  the  result, 
This  can  now  be  transferred  to  the  stretcher  at 
follows : 


tb 


THE  TEAjNIgFER. 


HEN  the  outline  is  finished  and  all  correc- 
tions made,  rub  the  back  of  the  paper  over 
with  a piece  of  charcoal,  covering  it  thoroughly ; 
shake  it  slightly,  that  the  fine  particles  may  fall 
off,  then  place  it  carefully  on  the  stretcher.  Mea- 
sure the  distance  from  the  side  of  the  head  and 
shoulders  on  each  side,  as  well  as  the  top  and  bot- 
tom, and  when  the  drawing  is  in  the  centre  of  the 
stretcher,  or  in  the  proper  position,  secure  the  four 
corners  to  the  stretcher  by  means  of  thumb  tacks, 
or  little  weights,  that  it  may  not  slip  while  being 
traced.  Next  take  a stylus,  or  a hard  and  sharp 
lead  pencil,  and  bearing  on  gently,  trace  over  all 
these  outlines  again,  following  them  very  accu- 
rately, then  remove  the  thumb  tacks,  lift  the  paper 
off  gently,  and  a perfect  outline  of  the  original  will 


IN  BLACK  AND  WHITE. 


21 


*4 


tt 


) found  upon  tlie  stretcher.  This  outline,  being 
mply  charcoal,  will  rub  off  with  the  slightest 
>uch,  and  thus  be  destroyed  ; therefore  place  the 
vetcher  upon  the  easel,  and  with  one  of  the  small 
aper  stomps,  slightly  blackened  in  the  crayon 
auce,  go  over  all  these  outlines  once  more  very 
lightly  in  order  not  to  lose  them  while  at  work 
gjipon  the  portrait.  Do  not  make  these  lines  hard, 
mr  they  will  show  when  the  picture  is  finished,  and 
Jdius  spoil  the  effect  of  the  work. 


THE  EIQHT. 

O work  to  the  best  advantage  proper  light  is 
^ necessary.  A north  light  is  considered  the 
most  desirable.  Place  the  easel  in  such  a position 
by  the  window  as  to  allow  the  light  to  fall  upon 
the  stretcher  from  the  left  side.  There  is  one 
advantage,  however,  in  crayon  work  over  oil  or 
water  colors,  and  that  is  it  can  be  executed  in  the 
evening  under  a strong  light  equally  as  well. 


THE  JV1ETH0D. 


NE  of  the  first  steps  in  all  branches  of  art 
work  is  to  put  in  the  values — that  is,  the 
darker  shadows.  Pay  no  attention  to  the  high 
lights,  they  will  take  care  of  themselves,  it  may 


22 


CRAYON  PORTRAITURE 


be  well  to  state  now  tlie  necessity  of  working  at  air 


cr'i. 


times  and  upon  all  parts  of  the  picture  very  lightly 


ts 


0( 

(j 


as  hard  rubbing  will  produce  a muddy  effect.  Th 
lighter  the  touch  the  more  transparent  and  beauti^ 


m 


ful  the  result. 


tor 


Take  one  of  the  paper  stomps,  put  it  in  the  brass 
holder,  rub  it  thoroughly  in  the  crayon  sauce,  11 
twisting  it  around  until  it  is  entirely  covered  with  r 
the  sauce  on  the  point  and  tapering  end.  Apply 
this  first  to  the  pupils  of  the  eyes,  the  nostrils,  and 
the  line  through  the  centre  of  the  mouth.  Next 
with  a broad  stroke  (not  a sharp  one)  to  the  lids  of 
the  eyes,  the  dark  shades  in  the  ears  and  the  eye- 
brows, following  the  outlines  very  carefully.  The 
stomp  having  now  cleaned  itself  somewhat  is 
ready  for  the  values  in  the  face.  In  applying  it  to 
these  shadows  do  not  use  the  point  as  you  would  a 
pencil,  but  rather  with  broad  strokes.  Tint  the  iris 
of  the  eyes,  the  shadows  under  the  eyes,  the 
curve  in  the  nose,  and  around  the  nostrils.  Do 
this  in  little  short  strokes  in  one  direction  first, 
parallel  to  each  other,  afterwards  crossing  them 
at  an  acute  angle — never  at  right  angles. 

The  shades  in  the  cheeks  and  forehead  are  next 
in  order,  in  the  same  manner.  The  work  will 
appear  rough  and  spotty  at  first,  but  these  values 
are  necessary.  The  cleaning  up  will  be  described 
later  on.  In  shading  the  cheeks  commence  each 
stroke  at  the  outline,  working  inwardly,  and  these 
may  be  curved  slightly,  hatching  in  the  same  man- 
ner at  an  acute  angle  boldly,  yet  so  lightly  that 
real  lines  are  avoided.  Look  the  face  over  tlior- 


IN  BLACK  AND  WHITE. 


23 


iglily  and  pat  in  all  the  darker  shades,  hut  not 
; strong  as  they  will  be  required,  as  the  work  will 
ok  more  transparent  by  gradually  strengthening 
lem,  rather  than  in  attempting  to  produce  the 
roper  strength  at  first. 

Next  put  in  the  values  of  the  hair,  not  in  fine 
nes,  but  in  broad  strokes,  with  the  chamois  stomp, 
>ut  in  this  there  should  be  no  hatching.  Make  all 
he  strokes  in  the  direction  in  which  the  hair  is 
;oinbed.  Leave  the  high  lights  as  in  the  face,  for 
he  present.  Watch  the  photograph  closely,  and 
put  them  on  in  the  right  place.  In  putting  oil  any 
and  all  of  these  darker  shades,  either  in  hair,  face, 
or  drapery,  always  commence  at  the  darkest  part 
of  such  shadows  and  let  the  stomp  move  in  the 
direction  of  the  lighter. 

Now  turn  to  the  drapery.  A black  broadcloth 
coat,  or  a silk  dress,  should  be  worked  in  the  same 
manner,  except  it  may  be  the  latter  can  be  finished 
a trifle  finer.  The  drapery  may  be  worked  up  with 
the  chamois  or  paper  stomp,  the  method  being 
the  same  as  above  described — short  broad  strokes 
crossing  at  an  acute  angle,  being  careful  not  to 
make  the  strokes  all  one  way.  In  ending  off  the 
drapery  great  care  must  be  observed  to  have  it 
grow  lighter  and  lighter  until  it  is  lost  entirely.  It 
must  not  have  the  appearance  of  being  cut  off 
abruptly. 

The  background  should  be  worked  up  in  the 
same  manner  as  the  coat,  only  not  so  dark,  or  it 
can  be  put  in  with  the  chamois  pad,  slightly  tinted 
with  the  crayon  sauce,  and  applied  with  a circular 


24 


CRAYON  PORTRAITURE 


motion,  commencing  at  the  coat  and  face,  and  work- 
ing away  from  them,  gradually  growing  lighter  and 
lighter,  having  no  abrupt  ending.  Never  make  the 
background  around  the  entire  head  in  a bust  pic- 
ture. Even  if  the  subject  has  gray  hair  this  is  not 
necessary;  it  will  have  too  much  of  a photographic 
appearance.'  Make  the  darkest  background  next 
to  the  highest  ligut  oi  rue  face.  Artists  differ  very 
much  in  opinion  upon  the  subject  of  backgrounds, 
and  almost  every  one  has  a style  of  their  own. 
Again,  nearly  every  portrait  requires  a different 
one,  but  generally  all  that  is  necessary  is  a light 
transparent  atmosphere,  varying  in  depth  to  suit 
the  subject.  A strong  face,  well  defined,  and  with 
dark  hair  and  eyes,  will  bear  a stronger  back- 
ground than  one  of  a little  child. 

The  drawing  now,  if  the  above  directions  have 
been  followed  carefully,  has  all  the  values  or  prin- 
cipal shadows  in  their  proper  places.  The  next- 
steps  to  be  taken  will  improve  its  appearance. 


THE  DRAPERY. 

I HE  drapery  should  receive  its  finishing  touches 
" 1 first  in  order,  leaving  the  face  for  the  last. 
Take  the  chamois  stomp,  using  the  cleanest  end, 
and  borrowing  color  from  the  values,  sweep  it 
gently  and  lightly  across  the  high  lights  in  differ- 
ent directions,  crossing  them  occasionally  as  previ- 
ously described.  Note  the  subject  carefully  and 


IN  BLACK  AND  WHITE. 


25 


low  tlie  modeling  to  give  the  proper  roominess 
J the  lappels  of  the  coat,  or  folds  in  the  dress, 
giving  borrowed  from  the  values,  they  may  now 
ed  strengthening  again.  If  the  work  thus  far  is 
ry  uneven,  take  the  conte  rubber,  with  a fairly 
uxrp  point,  and  clean  off  the  larger  spots,  usings 
e rubber  in  the  same  manner  as  the  stomp,  hatch- 
g over  the  spots  until  the  entire  drapery  is  com- 
aratively  even,  and  of  one  general  tone,  darker 
)ward  the  shoulders  and  neck,  and  ending  very 
gktly  if  the  subject  be  a vignette,  otherwise  of 
ourse  cover  the  whole  in  imitation  of  the  original. 
>ut  portraits  should  always  be  vignetted.  Details 
re  not  required  in  drapery,  except  perhaps  the 
•art  nearest  the  face,  as  the  collar,  necktie,  or 
>tker  neck  trimmings.  Never  attempt  to  imitate 
oo  closely  the  different  styles  of  materials  com- 
posing the-same,  except  it  may  be  in  the  forms  of 
the  folds,  and  the  manner  in  which  the  light 
strikes  them.  By  observing  this  rule  it  will  not  be 
difficult  to  decide  of  what  material  the  drapery  is 
composed. 

To  produce  the  effect  desired  the  paper  stomp 
should  be  used.  Commence  with  considerable 
color,  in  the  strongest  shades  first,  hatching  in 
short  strokes,  tolerably  open,  but  not  too  much  so. 
This  produces  a light  and  transparent  appearance. 
It  also  gives  depth,  enabling  one  to  look  into  them, 
which  would  not  be  the  effect  if  rubbed  in  too  hard 
and  closely.  The  entire  drapery  should  be  worked 
up  in  this  manner,  using  the  rubber  to  clean  off 
the  spots,  filling  up  the  lighter  places  with  the 


26 


CRAYON  PORTRAITURE 


stomp  whenever  required,  and  strengthening  the 
extreme  shadows,  where  they  require  it,  by  adding 
more  color  to  the  stomp.  Do  not  leave  the  out- 
lines of  the  shoulders  too  sharp,  but  go  a little  be- 
yond them,  lightly,  to  produce  a soft  and  natural 
effect. 

Study  the  original  and  you  will  notice  gen- 
erally a shade  on  the  collar  and  shirt-front;  put 
these  in  evenly  with  the  paper  stomp.  Lace  work 
should  not  be  followed  with  too  much  detail,  but 
made  somewhat  indistinctly,  with  a piece  of 
chamois  slightly  tinted,  taking  out  the  whiter 
spots  or  figures  with  the  rubber,  working  for  a 
general  effect  as  to  the  design  of  the  figure,  leav- 
ing it  as  a whole  very  delicate  and  soft.  Many 
artists  use  white  crayon  in  lace  or  embroidery 
work,  but  it  is  gradually  going  out  of  use.  If  a 
very  strong  white  is  required  in  any  part  of  the 
drapery  or  lace,  and  the  rubber  is  not  effectual  in 
removing  the  crayon,  take  a very  sharp  knife  and 
scrape  the  paper  until  the  proper  effect  is  pro- 
duced. 

if,  after  following  all  these  instructions,  the 
drapery  does  not  appear  quite  as  even  or  regular 
as  may  seem  desirable,  take  the  round  conte 
crayon,  sharpen  one  end  of  it  to  a very  fine  point, 
place  it  in  the  brass  holder,  and  go  very  lightly  in 
little  short  strokes  over  the  imperfect  places  until 
the  appearance  is  satisfactory. 


IN  BLACK  AND  WHITE. 


27 


THE  BACKGROUND. 

J*|rHTS  should  next  claim  attention,  and  should 
be  worked  up  in  precisely  the  same  manner 
nr  method  as  described  in  the  drapery,  only  not 
as  dark,  except  the  subject  should  liave  a white 
dress,  when  this  rule  should  be  reversed.  This 
subject,  however,  is  almost  inexhaustible.  The  face 
is  what  should  first  attract  the  eye  in  a portrait, 
and  anything  which  detracts  from  that  will  injure 
the  general  effect,  whether  it  be  an  elaborately 
finished  collar  or  pin,  or  a striking  background. 
Bear  in  mind  that  every  other  part  ot  the  picture 
is  merely  an  accessory  to  the  face,  and  therefore 
should  not  have  undue  prominence. 

If  the  picture  be  a Rembrandt  it  will  bear  a 
strong  background  upon  the  side  of  the  face  where 
the  light  is  strongest,  while  upon  the  darker  side 
it  should  be  lighter,  Cloud  rifts  make  a very 
pretty  and  effective  background  for  some  subjects, 
but  the  outer  and  upper  sides  must  always  fade 
away  with  the  utmost  delicacy.  A very  sharp 
point  may  be  used  in  cleaning  up  a background  if 
found  necessary  to  give  it  an  even  tone. 

A few  pictures  will  bear  a solid  background,  which 
is  made  by  first  going  over  the  entire  surface  of  the 
paper  or  stretcher  around  the  picture  with  a pad 
of  chamois  moderately  blackened  with  the  sauce, 
after  which  take  the  square  conte  crayon  No.  3, 
place  it  on  the  broad  flat  surface  of  the  side,  and 
rub  witis.  a circular  motion  until  the  paper  will 


28 


CRAYON  PORTRAITURE 


hold  no  more.  Then  with  the  two  fingers  of  the 
right  hand  go  over  it  with  the  same  circular  mo 
tion  until  the  surface  is  one  unbroken  mass  of 
black.  Be  careful  not  to  overrun  the  outlines  and 
get  spots  on  the  face  of  the  drapery.  Repeat  this, 
if  necessary,  until  the  proper  depth  is  produced. 

Another  method,  if  a grayish  tint  is  desired,  is 
to  proceed  as  above  with  the  black  crayon,  after 
which  take  a piece  of  soft  white  crayon,  place  it 
upon  the  stretcher  in  the  same  manner  and  pro- 
ceed to  rub  this  over  the  black,  afterwards  blend- 
ing it  with  the  fingers  as  before,  and  the  result 
will  be  a gray,  varying  in  shade  and  proportion  to 
the  predominance  of  the  white  or  black.  All  such 
backgrounds,  however,  are  easily  injured,  and 
should  be  framed  and  placed  under  glass  as  soon 
as  possible. 

The  subject  of  Scenic  or  Landscape  backgrounds 
will  be  treated  under  its  respective  head. 


THE  HAIR. 

§j|N  shading  the  hair  only  use  the  stomp  in  one 
(jtl  direction,  or  back  and  forth  if  the  crayon  does 
not  adhere  to  the  paper  well,  and  the  effect  will  be 
seen  at  once.  Endeavor  to  give  the  soft  flow  which 
hair  should  have.  Avoid  all  lines,  or  any  attempt 
to  make  individual  hairs,  as  this  would  cause  a 


IN  BLACK  AND  WHITE. 


29 


hard  and  wiry  appearance,  and  destroy  the  soft- 
ness and  beauty  of  the  picture. 

Hair  is  best  represented  as  it  is  in  nature,  in 
locks  and  masses.  Borrow  from  the  darker  shades 
and  tint  over  the  high  lights  with  the  chamois 
stomp,  a little  darker  than  necessary,  and  after- 
wards take  out  these  high  lights  with  the  broad 
surface  of  tbe  rubber.  It  may  be  found  necessary 
to  use  the  paper  stomp  before  obtaining  the  proper 
finish,  especially  in  working  around  the  outside  or 
outline  of  the  head  to  complete  its  softness. 

The  color  of  the  hair  can  only  be  represented  by 
the  d iffe rent  degrees  of  shade.  White  hair  can  be 
made  exceedingly  soft  by  using  very  little  color, 
and  doing  most  of  the  work  with  the  rubber. 
Mustache  or  whiskers  are  made  in  the  same  man- 
ner, in  masses,  taking  out  the  high  lights  with  the 
rubber.  Occasionally  a few  lines  or  single  hairs 
may  be  put  on  with  the  point,  both  in  the  hair  or 
the  whiskers,  when  the  picture  is  nearly  finished, 
but  all  such  must  be  put  in  very  sparingly. 

The  drapery,  background,  and  hair  are  now  sup- 
posed to  be  complete,  excepting  possibly  a few 
finishing  touches  in  the  final  softening  effect. 


THE  EYES, 


*AKE  the  paper  stomp,  slightly  tinted  with 
color,  and  proceed  to  finish  the  eyes.  Bear 
in  mind  that  the  method  of  applying  this  to  all 


30 


CRAYON  PORTRAITURE 


parts  of  the  features  should  be  in  short  strokes, 
very  lightly  crossing  them  at  an  acute  angle,  using 
care  not  to  have  them  too  oblique,  and  never  at 
right  angles.  Begin  with  the  upper  lids,  darken 
them  slightly,  and  working  upward  and  away  from 
them  toward  the  eyebrows.  Strengthen  the  pupil 
all  that  it  is  possible  and  proceed  to  tint  the  iris, 
making  the  upper  part  of  it  darker  in  shade  than 
the  lower,  as  there  is  always  a shadow  cast  upon 
it  by  the  eyelid.  The  lower  lid  should  not  consist 
of  a line,  but  is  formed  by  the  shading  above  and 
below  it.  Study  very  carefully  the  original  pic- 
ture and  note  all  the  peculiarities  of  form  and 
expression.  Leave  the  catch  lights  in  their  proper 
places  if  possible.  This,  however,  is  optional,  as 
they  can  easily  be  made  after  the  eyes  are  finished 
by  scratching  them  with  a knife,  or  they  can  be 
put  in  with  Chinese  White  on  the  tip  of  a brush. 
Darken  the  corners  and  tint  very  lightly  the  ball, 
which  should  never  be  left  perfectly  white.  If, 
during  the  work,  any  part  becomes  too  dark,  or 
spots  are  left,  lighten  such  and  take  off  the  spots 
with  the  rubber. 

The  eyebrows  should  be  put  on  in  the  same 
manner  as  the  hair,  but  be  careful  to  tone  them 
down  to  the  proper  depth  gradually,  preserving 
the  proper  form  or  shape.  Next  take  a clean  pajier 
or  chamois  stomp  and  pass  it  smoothly  and  broadly, 
back  and  forth,  over  the  lids  of  the  eyebrows,  going 
a little  beyond  the  latter  on  the  forehead.  This 
tends  to  give  softness,  and  blends  these  shadows 
oft  into  or  toward  the  high  lights,  thus  giving  the 


IN  BLACK  AND  WHITE. 


31 


desired  roundness.  In  the  iris  there  should  be9 
opposite  the  catch  light,  a lighter  tone,  called  re- 
flected light,  but  the  remainder  of  the  iris  should 
be  shaded  to  a greater  or  less  degree,  according  to 
the  subject.  The  pupil  can  now  be  strengthened 
by  using  the  conte  crayon  point,  making  it  a very 
deep  black. 


HERE  should  always  be  a dark  shadow  under 


the  eyebrows  toward  the  nose  ; borrow  from 


this  to  shade  the  sides.  Put  in  the  nostrils,  using 
care  to  have  them  the  proper  shape,  but  not  quite 
so  large  as  the  outline,  as  the  remainder  will  work 
into  a half  tone  when  blending,  and  give  the  proper 
roundness.  Work  away  from  them  now,  giving  the 
proper  curves  to  the  lower  part  of  the  nose,  blend- 
ing the  nostrils  until  the  proper  shape  is  produced. 
Carry  up  the  tones  toward  the  eyes  and  off  slightly 
toward  the  cheeks. 

Remember  if  a wrong  movement  is  made,  or 
too  much  color  put  on,  the  rubber  will  soon  restore 
it  to  its  proper  tint.  Leave  the  easel  occasionally 
and  view  the  work  from  a little  distance.  In  all 
well  lighted  photographs  one  side  of  the  face  is 
in  stronger  shadow  than  the  other.  This  must  be 
noticed  in  shading  the  nose,  and  if  carefully  exe- 
cuted and  well  modeled  the  nose  will  appear  to 
stand  out  from  the  face  in  a natural  manner. 


THE  NOgE. 


CRAYON  PORTRAITURE 


THE  MOUTH. 


‘HIS  is  one  of  the  important  features  of  the 
face,  and  great  care  should  be  exercised  not 
to  lose  the  expression  in  working  it  up,  giving 
firmness  and  strength  in  the  masculine,  and  sweet- 
ness and  delicacy  in  the  feminine.  Ho  not  make  a 
hard  line  through  the  lips,  but  begin  at  the  cor- 
ners, making  those  the  strongest,  working  from 
them  with  a lighter  touch  to  the  centre,  where  the 
greatest  fullness  lies,  and  at  this  central  jKhnt 
there  is  generally  a slight  curve,  which  must  be 
carefully  preserved.  Make  the  shadows,  half  tints 
nnd  lights  in  exact  imitation  of  tbe  original. 
Avoid  all  hard  outlines  in  the  lips  by  working  up 
to  the  outlines  very  carefully.  In  fact,  there  is  not 
a single  line  in  the  whole  face — the  seeming  lines 
nr  boundaries  being  caused  by  the  sharp  approach 
of  light  and  shade. 


THE  fOEEHEAD. 

‘HE  process  of  putting  in  the  shadows  in  the 
forehead  is  precisely  the  same  as  has  already 
been  described 5 short  strokes,  slightly  curved  at 
the  temples,  clearing  off  the  spots,  and  filling  up 
the  large  lighter  spots  until  the  work  looks  clean 


IN  BLACK  AND  WHITE. 


33 


and  yet  moderately  open.  Soften  the  hair  where 
it  falls  upon  the  forehead,  or  where  it  joins  the 
face  about  the  temples,  but  do  not  be  afraid  of  los- 
ing the  line  of  where  the  hair  commences,  or  the 
forehead  begins.  It  wants  to  be  lost.  It  must  be 
soft  to  make  the  picture  artistic  and  natural. 
Generally  the  strongest  light  on  any  picture  is  on 
the  forehead. 

If  the  subject  should  be  that  of  an  elderly  face, 
many  wrinkles  will  be  noticed.  These  are  put  on 
boldly  at  first  with  the  paper  stomp,  in  their  exact 
position,  after  which  soften  them  above  and  below 
with  a clean  stomp,  and  if  too  strong  lighten  them 
with  a finely  pointed  rubber. 


THE  FACE. 

SjtpELE  blending  of  the  values  in  the  face  should 
mow  receive  attention.  The  deepest  shades 
should  not  be  carried  to  the  extreme  outline  of  the 
face.  There  is  always  a reflected  light  which  will 
escape  the  notice  of  the  beginner,  if  strict  atten- 
tion is  not  given.  This  is  often  the  case  in  the 
forehead  and  the  chin  as  well  as  the  cheeks. 

Remember  there  must  be  no  distinct  or  abrupt 
ending  of  any  shadow  ; each  one  must  blend  off 
gradually  into  the  other,  or  into  the  high  light. 
As  a general  rule  the  high  lights  should  not  be 


34 


CRAYON  PORTRAITURE 


left  with  the  pure  white  shade  of  the  paper.  They 
should  all  be  tinted,  although  so  lightly  it  will  be 
almost  impossible  to  decide  whether  they  have 
received  any  tint  at  all.  There  are  many  half 
tones,  however,  which  must  be  preserved.  No 
special  instructions  are  required  in  regard  to  the 
ears,  as  the  work  should  be  the  same  as  described 
for  the  other  features  ; preserve  the  form  and 
shape  of  the  shadows,  and  blend  to  give  softness 
and  rouudness. 


HE  final  finishing  touches  can  now  be  given. 


Look  the  work  over  carefully  and  soften  all 
the  outlines  or  outer  edges  of  every  part  of  the 
picture  Do  this  with  the  small  paper  stomp, 
fairly  clean.  Examine  all  the  deeper  shades,  and 
strengthen  all  that  may  seem  to  require  it,  or 
lighten  such  as  may  be  too  dark.  The  stomp  and 
rubber  alone  will  be  required  for  this  work,  and  it 
would  be  well  to  rub  the  paper  stomp  on  the  block 
of  sand-paper  to  soften  it  slightly.  The  rubber 
should  also  be  trimmed  with  a knife,  after  which 
rub  off  the  sharp  edges  on  the  sand-paper,  leaving 
it  moderately  sharp  at  the  point. 

If  any  white  spots  are  noticeable  in  any  of 
the  shadows,  either  in  the  face,,  drapery,  or  back- 


FINISHING. 


IN  BLACK  AND  WHITE. 


3& 


ground,  fill  those  up  to  the  desired  tone  with 
the  stomp.  If  any  of  the  hatching  appears  too 
broad  or  too  open,  fill  that  up  slightly.  Take 
out  any  desired  high  lights  in  the  hair  with  the 
rubber,  as  such  are  much  more  effective  than 
they  would  be  if  any  attempt  was  made  to  leave 
them  during  the  progress  of  working.  Any  outline 
that  appears  too  hard  or  cutting  may  be  softened 
by  working  upon  the  edges  a little  beyond,  for 
every  part  must  be  round  and  soft,  and  there  must 
also  be  .strength,  as  well  as  softness.  The  color  of 
the  eyes  or  hair  can  alone  be  represented  by  light 
and  shade. 

It  is  these  finishing  touches  which  will,  in  a great 
measure,  give  to  the  portrait  its  life  and  beauty. 
Study  your  picture  from  a distance,  and  note  where 
a few  touches  will  improve  its  appearance.  Exam- 
ine the  drapery,  the  high  lights  on  the  collar  or  tiie 
lace,  clear  up  any  places  that  may  have  become 
rubbed,  and  leave  no  spots  or  specks  to  mar  the 
clear  and  even  effect  of  the  work.  These  little 
touches  may  seem  insignificant,  but  they  will 
greatly  enhance  its  value. 

In  conclusion,  remember  that  skill  can  only  be 
acquired  by  continued  practice.  Be  willing  to 
spoil  several  pictures,  if  necessary,  to  acquire  the 
art  at  last.  Consider  it  a necessity  to  learn  to 
draw.  In  u H nut’s  Talks  on  Art,’7  he  says : “ Any 
one  who  can  make  the  letter  D can  learn  to  draw, 
Learning  to  draw  is  learning  the  grammar  of  a lan- 
guage.*’ Study  the  faces  upon  the  street,  note  the 
shadows  and  high  lights,  and  thus  become  familiar 


CRAYON  PORTRAITURE 


06 

with  the  human  features.  Read  these  instructions 
over  carefully  and  studiously,  and  follow  them  step 
by  step,  for  no  amount  of  labor  is  too  great  to 
accomplish  the  object  desired. 

It  might  be  well  to  advise  the  student  to  make 
several  outlines  of  the  same  subject.  In  the  first 
one  put  in  the  values,  making  them  comparatively 
clean,  and  blending  the  edges  off  upon  the  high 
lights,  and  leave  it  in  this  unfinished  state.  In  the 
second  put  in  the  same  values,  strengthening  and 
modeling  them  to  give  the  necessary  roundness 
and  form.  The  third  and  fourth  should  be  carried 
each  one  a little  farther  toward  completion,  and  the 
last  one  may  be  finished  in  all  its  details.  Hang 
these  up  side  by  side  in  the  order  in  which  they 
come,  and  they  will  be  found  of  great  practical 
value  as  a key  from  which  to  obtain  such  know- 
ledge as  may  be  desired,  whUe  the  practice  itself 
will  enable  you  to  use  the  stomps  with  greater 
freedom. 


POINT  WORK. 


[ANT  artists  do  not  use  the  point  in  finishing 
a crayon  portrait,  and  even  such  as  do  em- 
ploy it  usually  have  a method  peculiarly  their  own. 
In  all  cases,  however,  it  should  be  done  with  a 
long  finely  pointed  crayon  and  very  lightly.  It  is 
also  often  used  in  a gliding  motion  in  different 


IN  BLACK  AND  WHITE. 


87 


directions,  so  lightly  and  so  openly  that  the  grain 
of  the  paper  only  catches  the  crayon,  hut  great 
care  must  be  taken  to  preserve  the  evenness  of  the 
tone,  leaving  no  spots  that  are  darker  than  the 
others. 

Again,  a very  fine  effect  is  produced  by  lightly 
hatching  the  face,  after  the  manner  of  using  the 
stomp,  curving  the  strokes  in  the  direction  of  the 
fibres  of  the  fiesh,  namely  : horizontal  on  the  fore- 
head, perpendicular  on  the  nose,  and  circular 
around  the  eyes,  mouth  and  general  contour  of  the 
face.  All  such  strokes  should  begin  lightly  and 
end  lightly,  and  should  be  regular  and  parallel  to 
each  other,  crossing  at  acute  angles.  All  point 
work  requires  a vast  amount  of  practice,  and  it 
would  be  best  for  the  student  to  become  proficient 
in  stomp  work  before  attempting  the  use  of  the 
point.  By  proper  use  of  the  paper  stomp  and  rub- 
ber an  effect  can  be  produced  almost  if  not  quite 
equal  to  the  point. 


FULL-LENQTH  P0RTRAIT3. 


'ULL  LEYGTH  portraiture  is  a different 
W branch  of  work,  and  requires  more  study. 
Yet  it  is  generally  the  desire  of  every  artist  who 
acquires  skill  in  portrait  work  to  be  able  to 
execute  a full  or  half  length  figure. 


<j»8  CRAYON  PORTRAITURE 

The  first  requirement  will  be  to  draw  the  en- 
largement. A Solar  Print  may  be  obtained  and 
used  to  trace  the  outline,  but  these  are  quite  expen- 
sive. The  system  of  squares  described  in  this  work 
is  an  excellent  one.  The  outlines  having  been 
obtained,  transfer  it  to  the  stretcher  according  to 
the  directions  heretofore  given,  and  preserve  them 
with  the  paper  stomp.  A large,  soft  rolled  cha- 
mois stomp  will  be  the  most  convenient  for  the 
drapery  and  background  in  putting  in  the  values, 
but  in  finishing  and  blending  the  paper  stomp  may 
again  be  employed. 

A piece  of  chamois  rolled  up  in  a little  pad  is 
often  used  in  putting  in  these  values,  as  greater 
rapidity  is  the  result.  Care  should  be  exercised, 
however,  not  to  rub  too  hard  or  the  effect  would 
be  muddy,  and  also  to  use  it  with  a circular  motion. 
White  dresses  are  generally  worked  up  entirely 
with  a small  piece  of  chamois,  using  the  broad  sur- 
face of  the  rubber  to  take  out  the  high  lights. 
Avoid  details  in  lace  work,  and  do  not  use  white 
crayon,  the  white  paper  being  the  most  effective. 
The  same  rules  may  be  applied  to  head-dresses, 
bonnets,  feathers,  or  flowers.  These  are  all  worked 
up  in  the  same  manner,  and  the  rubber  is  one  of 
the  most  important  factors  for  the  high  lights. 

Heavy  robes  of  vel  vet  should  first  be  made  with 
the  chamois  pad,  after  which  apply  the  stick  of 
Ho.  3 crayon,  putting  it  on  in  a solid  mass,  and 
then  blending  it  with  the  fingers.  In  such  kind  of 
drapery  the  white  crayon  may  be  applied  to  the 
high  lights  in  the  same  manner  as  the  black,  using 


IN  BLACK  AND  WHITE. 


39 


the  finger  to  blend  it  with  the  black  to  form  the 
half  tones  in  modeling,  after  the  manner  of  Pastel 
work.  In  full  length  portraits  more  of  the  details 
are  worked  up,  such  as  necklaces,  chains,  or  orna- 
ments on  the  dress,  and  the  paper  stomp  will  here 
be  found  the  most  useful. 


jSCEjMIC  BACKQROUNDg. 

4ULL-LENGTH  portraits  require,  as  a general 
rule,  a scenic  background.  Yet  care  must  be 
exercised  that  the  figure  must  be  the  principal  ob- 
ject, and  not  the  background.  It  should  be  quiet 
and  unobtrusive,  receding  far  behind  the  head  of 
the  portrait.  Any  objects  that  may  be  introduced 
should  be  shadowy  and  indistinct.  If  a landscape 
background  is  desired,  the  trees  and  shrubbery 
should  be  light  and  indistinct,  excepting  in  the 
immediate  foreground,  where  a little  greater  atten- 
tion may  be  given  to  the  details.  Interiors  are 
sometimes  introduced  with  pieces  of  furniture  or 
drapery.  Such  may  be  worked  up  much  darker, 
after  the  manner  described  in  the  drapery  of  the 
figure,  with  the  crayon  stick  and  fingers.  Stone 
columns  are  worked  with  the  paper  stomp  and 
rubber,  giving  it  the  appearance  of  rough  stone  by 
putting  on  the  color  in  little  rough  dashes  or  spots* 


40 


CRAYON  PORTRAITTKE 


and  taking  out  tlie  high  lights  with  the  rubber  in 
the  same  manner. 

There  is  no  end  to  the  variety  of  scenic  back- 
grounds, and  it  would  be  impossible  to  describe 
the  scenes  or  objects  that  may  be  introduced 
which  might  be  in  harmony  with  the  subject.  Such 
must  be  left  to  the  taste  and  skill  of  the  artist. 
They  may  go  through  all  the  possible  gradations, 
from  a shadow  on  a wall,  to  the  depth  and  ob- 
scurity surrounding  a figure  standing  in  an  open 
door  or  window. 

The.  only  instructions  to  be  given  may  be 
summed  up  in  these  words.  Preserve  the  same 
delicacy  and  softness  that  is  described  in  working 
up  the  figure,  avoiding  all  hard  lines  or  abrupt 
endings,  leaving  the  entire  background  subservient 
to  the  figure. 


TO  FIX  CRAYON  DRAWINGS. 

*l!djERY  much  has  already  been  written  upon  this 
subject,  and  there  is  great  danger  in  any  and 
all  the  methods.  The  safer  plan  is  to  leave  the 
work  in  its  simple  state,  and  protect  it  by  a frame 
and  glass.  Many  of  the  methods  of  fixing  result 
in  a flattening  of  the  tones  and  high  lights,  thus 
destroying  their  brilliancy  and  depth,  often  making 
it  necessary  to  retouch  many  parts  of  the  picture 


IN  BLACK  AND  WHITE. 


41 


to  give  it  additional  force.  But  if  found  desirable 
in  order  to  preserve  a number  of  drawings,  the 
“ Fixative”  for  sale  at  the  Art  Stores  will  be 
found  the  most  convenient,  and  with  it  will  be 
found  full  directions  for  its  use. 

In  the  article  on  Charcoal  Drawing  will  be  found 
a formula  for  making  a Fixative,  but  ordinarily  it 
would  be  better  to  procure  it  ready  for  use.  The 
usual  method  of  applying  it  is  by  means  of  an 
atomizer  in  the  form  of  spray,  repeating  the  opera- 
tion from  time  to  time,  as  may  be  found  necessary, 
waiting  each  time  for  the  paper  to  dry.  Crayon 
drawings  snoukl  never  be  rolled,  nor  should  they 
ever  come  in  contact  with  any  hard  substance. 


^STEB  the  foregoing  instructions  in  cheir 


entirety,  and  follow  them  carefully.  The 


practice  thus  derived  will  train  the  hand  to  follow 
the  dictation  of  the  eye.  To  write  or  copy  any 
written  language  the  hand  must  first  be  taught  to 
follow  the  forms  of  each  letter,  and  the  same  may 
be  said  to  be  true  in  drawing;  practice  enabling 
the  hand  to  make  the  necessary  strokes  without 
any  hesitation  or  uncertainty.  The  object  of  this 
treatise  has  been  to  give  practical  instruction,  in 
as  simple  a manner  as  possible,  and  it  now  remains 


QENERAL  REMAFjKG. 


42 


CRAYON  PORTRAITURE 


for  the  student  to  make  the  best  use  of  the  infor- 
mation given.  Practice  and  perseverance  will  en- 
able any  one  of  average  intelligence,  combined 
with  a love  for  the  art,  to  obtain  excellence  in 
executing  natural  and  life-like  portraits. 


LAJMD5CAPE  DF^AWIJNQ. 

|fT  is  presumed  that  many  who  read  the  fore- 
going  pages,  and  put  into  practice  the  instruc- 
tion given,  will  naturally  feel  inclined  to  take  an 
occasional  excursion  for  pleasure,  and  look  around 
for  natural  objects  to  reproduce  upon  the  sketch- 
book. The  principles  of  landscape  or  object  draw- 
ing aic  the  same  as  described  for  the  human  face. 
It  must  have  first  the  outline,  and  then  light  and 
shade;  the  outline  giving  the  form  and  shape, 
while  the  light  and  shade  give  roundness  and 
strength.  Sketch  the  outline  boldly,  yet  accurately 
as  possible,  with  a lead  pencil  or  piece  of  charcoal, 
taking  hold  near  the  point  at  the  farther  end,  very 
loosely,  which  will  give  perfect  freedom  to  the  arm 
and  hand. 

Charcoal  can  be  very  easily  removed  from  the 
paper  by  using  a soft  piece  of  flannel,  therefore 
make  all  corrections  necessary,  and  when  complete 
save  them  by  going  over  lightly  with  the  paper 
stomp.  Next  put  in  the  masses  or  values.  This 


IN  BLACK  AND  WHITE. 


43 


can  be  done  with  the  charcoal  if  desired,  and 
strengthened  with  the  stomp  in  the  same  manner 
described  in  putting  in  the  values  in  the  human 
face.  Leave  all  details  for  the  finishing.  For  sky 
or  clouds,  use  the  chamois  pad,  or  a soft  chamois 
stomp;  the  flat  tint  of  trees  or  mountains  the 
same. 

After  putting  in  all  the  values,  the  detail  work 
may  commence.  Use  the  small  paper  stomps  for 
all  such,  but  very  little  detail  must  be  put  into  a 
landscape  except  in  the  immediate  foreground.  All 
outlines  must  be  soft  and  indistinct.  The  foliage 
of  trees  can  be  made- very  effective  with  the  stomp 
and  rubber.  The  point  can  be  used  if  desired  in 
cleaning  up  the  spotty  places,  or  the  whole  picture 
worked  over  with  the  point  in  short,  regular, 
blunt,  but  soft  lines,  thus  giving  the  inclinations 
of  mountain  slopes  or  rugged  rocks.  But  a much 
softer  effect  will  be  produced  with  the  stomp,  ex- 
cepting in  very  deep  or  rich  shadows;  then  use  the 
point,  and  cross  hatch  to  give  the  necessary 
strength.  But  after  all,  the  rules  or  instructions 
laid  down  in  this  book  wrere  formed  from  practice, 
and  although  the  student  may  feel  content  to 
receive  this  instruction  from  another,  yet  the  best 
method,  and  the  most  valuable  instruction,  is 
PRACTICE. 


44 


CBAYON  PORTBAITTJBE 


CHARCOAL  DRAWINQ. 

SjrHE  use  of  charcoal  for  landscape  or  figure 
drawing  is  becoming  more  and  more  popular 
every  year.  Its  use  is  easy  to  learn,  and  the  results 
are  very  satisfactory.  It  is  one  of  the  modern  arts, 
the  old  masters  employing  it  principally  for  sketch- 
ing, although  there  are  in  existence  a few  ex° 
amples  in  simple  charcoal. 

The  paper  is  of  a different  quality  or  grain  from 
that  used  for  crayon  work.  It  should  be  of  a yel- 
low white  tint,  and  a fine  and  even  grain.  If  too 
rough  the  charcoal  will  catch  too  strongly  ; while 
on  the  other  hand  if  it  is  too  smooth,  it  will  not 
produce  a good  shading.  Like  paper  for  crayon 
work,  it  should  be  stretched.  The  materials 
necessary  are  the  small  paper  stomps,  a chamois 
stomp,  linen  and  woolen  rags,  bread  crumbs  and  a 
rubber.  The  sticks  of  charcoal  considered  the 
best  are  the  French,  either  the  Conte  or  Eouget. 
There  are  two  methods,  the  first  when  the  stomp 
is  used  throughout  the  entire  drawing  5 the  other 
by  using  the  sticks  sharply  pointed,  and  cross 
hatching,  discarding  the  stomp  entirely.  The 
former  is  the  most  popular,  and  will  make  the 
softer  picture. 

Take  one  of  the  larger  sticks,  cut  the  end  flat 
and  broad,  and  commencing  on  the  top  of  the 
stretcher  make  an  even  and  regular  tone  over  the 
whole  surface  of  the  paper.  Now  take  the  first 


IN  BLACK  AND  WHITE. 


45 


three  fingers  of  the  right  hand  and,  commencing 
at  the  bottom,  spread  the  charcoal  over  the  paper, 
going  from  right  to  left,  until  the  whole  is  one  flat 
tone,  resembling  a wash  of  india  ink.  If  this 
leaves  the  tone  too  dark,  go  over  it  softly  with  a 
clean  linen  rag,  and  this  operation  of  putting  on 
the  charcoal  and  using  the  fingers  or  rag  may  be 
repeated  until  the  desired  depth  of  tone  is  pro- 
duced. 

The  next  step  is  to  put  in  the  deeper  tones  or 
masses  with  the  charcoal  stick,  rubbing  it  down 
with  the  stomp.  This  process  may  often  have  to 
be  repeated  several  times  to  get  sufficient  depth. 
The  high  lights*are  obtained  by  using  the  woolen 
rag  for  the  half  tones,  and  the  rubber  or  bread 
crumbsTor  the  stronger  lights.  Work  up  details 
afterward  witn  a piece  of  finely  pointed  charcoal. 

Although  the  tones  of  charcoal  are  more  opaque 
than  crayon,  yet  they  possess  a velvety  richness 
and  softness  which  crayon  will  not  give,  and  for 
landscape  drawing  it  is  especially  valuable.  It  has 
other  advantages  over  oil  or  water  colors ; being 
dry  it  necessitates  no  delays,  and  therefore  a land- 
scape can  be  drawn  with  wonderful  rapidity,  and 
any  part  that  is  unsatisfactory  can  be  easily 
effaced.  In  fact  the  drawing  may  be  a succession 
of  alterations,  changes,  or  modifications  of  tone  or 
shade,  until  it  meets  approval.  It  is  often  used  in 
portrait  work,  and  especially  is  it  adapted  for  the 
portraits  of  children. 

The  entire  process  of  working  in  charcoal  is  so 
simple  that  scarcely  any  instructions  are  necessary. 


40 


CRAYON  PORTRAITURE 


All  charcoal  drawings  must  be  fixed,  and  if  care  is 
used  the  most  convenient  method  is  direct  fixation. 
This  Fixative  can  be  obtained  at  the  Art  stores,  and 
is  used  by  blowing  a fine  spray  over  the  drawing, 
as  perfumes  are  diffused  through  an  atomizer.  It 
may  be  necessary  to  repeat  the  operation  several 
times,  waiting  each  time  for  the  paper  to  dry. 

An  excellent  Fixative  may  be  made  by  dissolving 
as  much  gum  shellac  in  a pint  of  alcohol  as  it  will 
hold.  Let  the  preparation  stand  some  hours,  then 
strain  it  through  a fine  sieve  or  linen  cloth.  When 
it  has  settled  and  become  quite  clear,  wet  the  back 
of  the  drawing  thoroughly  with  a large  bristle 
brush  while  the  picture  is  being  held  vertically  be- 
fore you.  The  picture  is  liable  to  be  destroyed  if 
it  is  allowed  to  touch  any  substance  before  the 
charcoal  has  become  firmly  “ set.”  The  better  way 
would  be  to  buy  the  article  ready  prepared  for  use, 
and  apply  as  per  directions. 

Charcoal  drawing,  it  should  be  remembered, 
must  only  render  effects,  not  details.  The  amateur 
will  find  this  the  most  difficult  lesson  to  learn.  To 
illustrate  this  point  we  quote  the  following  from  a 
celebrated  teacher : “You  see  a beautiful  sunset, 
and  a barn  comes  into  your  picture.  Will  you 
grasp  the  whole  at  once,  in  a grand  sweep  of  broad 
sky,  and  a broad  mass  of  dark  building,  or  will 
you  stop  to  draw  in  all  the  shingles  on  the  barn, 
perhaps  even  the  nails  on  each  shingle $ possibly 
the  shady  side  of  each  nail  % Your  fine  sunset  is 
all  gone  while  you  are  doing  this.”  Forget  the  lit- 
tle things  in  a picture  and  try  to  see  only  the 


IN  BLACK  AND  WHITE. 


47 


grand  broad  masses,  putting  off  all  details  until 
the  last,  and  if  it  should  happen  that  every  feather 
on  a bird  was  not  in  exact  position,  or  one  leaf 
lacking  on  a tree,  it  will  not  be  noticed.  With  a 
paper  stomp,  a piece  of  charcoal,  and  a piece  of 
rubber,  a picture  can  be  made,  and  a beautiful  one 
too,  without  a line,  or  scarcely  a bit  of  detail  in  it. 

To  conclude,  it  may  be  only  necessary  to  say, 
do  not  become  discouraged  after  the  first  few 
efforts ; if  the  desire  to  learn  to  draw  is  strong, 
rest  assured  success  will  come  by  patient  practice. 
Do  not  confine  yourself  to  the  instructions  con- 
tained in  this  work,  and  do  not  be  afraid  to  try 
experiments,  and  see  what  the  effects  may  be.  In 
this  way  one’s  own  individuality  will  show  in  the 
results,  and  such  results  will  be  valuable  because 
they  are  original. 


CQJNCLUgJON. 

1|T  may  hardly  seem  necessary  to  add  to  this 
fl  treatise  anything  more  in  the  way  of  instruc- 
tion. Doubtless  many  who  read  these  pages  will 
undertake  the  study  of  Portraiture  as  an  amuse- 
ment or  recreation  simply,  but  the  author  would 
advise  the  student  to  make  it  a serious  study,  and 
not  rest  content  after  being  able  to  execute  a mod- 
erately f;iir  portrait.  Every  year  shows  an  increas- 


48 


CRAYON  PORTRAITURE. 


ing  interest  in  all  Art  matters,  and  Portraiture 
should  be  considered  in  the  light  of  au  accomplish- 
ment. The  fact  that  others  are  far  in  advance 
should  only  act  as  an  incentive  to  greater  labor 
and  study. 

The  student  should  bear  in  mind  that  there  are 
two  distinct  lessons  to  be  learned  in  following  the 
instructions  here  given ; first,  the  method  of  w^rk, 
or  the  manner  of  putting  the  crayon  upon  the 
paper;  second,  to  preserve  the  exact  likeness  of 
the  original.  Therefore  study  the  subject  thorough- 
ly and  carefully,  as  this  is  very  essential  in  obtain- 
ing a correct  and  pleasing  likeness.  If  this  has 
been  attended  to  in  the  early  stages  of  the  work 
the  likeness  will  not  be  difficult  of  attainment. 


MATERIALS  FOR 


PASTEL  PAINTING. 

P.  Weber  Si  Co.’<  Soft  Pastels,  Single  and  In  Boxes, 

P.  Weber  Si  Co.’s  Soft  Pastels,  extra  large,  for  backgrounds, 
P.  Weber  Si  Co.’s  balf-bard  Pastels  in  boxes. 

F.  Weber  Si  Co.’s  Pastel  Outfits,  filled  complete  for  Pastel 
Painting. 


The  “Scholar’s  Outfit,”  consisting  of  30  F.  Weber  & Co.’s 
soft  Pastels,  assorted  colors,  and  all  necessary  materials, 
in  wooden  box,  complete,  - $2.00 

The  “Amateur  Outfit,”  consisting  of  64  F.  Weber  & Co.’s  soft 
Pastels,  assorted  colors,  and  materials,  in  wooden  box, 
complete.  - - - - - $3  50 

LeFRANC’S  AND  GIRAULT’S  SOFT  AND  HALF-HARD  PASTELS, 

IN  BOXES. 

Treatise  on  Pastel  Painting,  simplified  and  perfected  by  Goupil, 

Each  50  cents. 


HARD  PASTELS  IN  ROUND  PAPER  BOIES. 


F.  W.  & Co.’s  Pastel  Paper,  Boards,  Pastel  Canvas  and 
Monochromatic  Boards. 


F,  W.  & Co.’s  “Sphinx”  Fixatif  for  fixing  Crayons  and 
Pastel  Paintings. 


JAPANNED  TIN  AND  GLASS  ATOMIZERS. 


Sussners  Superfine  Colored  Pencils,  in  wood, 
in  60  different  colors. 


Charcoal  and  Crayon  Papers, 

White  and  Tinted. 


STEINBAOH  PAPER, 

Light  and  Heavy. 


STUDIO  EASELS. 


MAHL,  OR  REST  STICKS, 

DRAWING  BOARDS. 


Strechers,  all  sizes,  with  or  without  paper,  furnished 
to  order. 

F.  W.  WEBER  & CO., 

Philadelphia,  Pa., 

St.  Louis,  Mo.,  Baltimore,  Md. 


